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a community-grown, libre Open Access archive of Jewish prayer and liturgical resources — for those crafting their own prayerbooks and sharing the content of their practice
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a community-grown, libre Open Access archive of Jewish prayer and liturgical resources — for those crafting their own prayerbooks and sharing the content of their practice
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49th century A.M. —⟶ tag: 49th century A.M. Sorted Chronologically (old to new). Sort most recent first? This is a partial English translation of Al Ahavatekha offered by rabbi Levi Weiman-Kelman to accompany a video by Nigunim Ensemble presenting their musical setting of the piyyut on Youtube in 2018. . . . Categories: Tags: Contributor(s): The physician’s prayer of Rabbi Dr. Yehudah ben Shmuel haLevi in the 12th century CE. . . . “Zweites Gebet vor Neïla” is an abridged, adapted translation by Yehoshua Heshil Miro of the piyyut by Yehudah haLevi “Barkhi Nafshi et Adonai.” There are seven stanzas missing near the end including the final stanza and a portion of the penultimate stanza. The translation was published in Miro’s anthology of teḥinot, בית יעקב (Beit Yaaqov) Allgemeines Gebetbuch für gebildete Frauen mosaicher Religion. It first appears in the 1835 edition, as teḥinah №48 pp. 83-85. In the 1842 edition, it appears as teḥinah №50 on pp. 86-90. . . . Categories: Tags: 12th century C.E., 19th century C.E., 49th century A.M., 56th century A.M., Acrostic signature, Alphabetic Acrostic, German Jewry, German vernacular prayer, Jewish Women's Prayers, paraliturgical neïlah, תחינות teḥinot Contributor(s): “Roshei am et hitasef umlekhim b’sodam” by Yehuda Halevi was translated by Herman Prins Salomon in “Yehuda Halevi and his ‘Cid’” and published in The American Sepharadi (1978), pp. 22-46. . . . Categories: Tags: Contributor(s): A piyyut that expresses the paradox of a divinity that is both “Beyond” and “Present.” . . . Categories: Tags: Contributor(s): A rhyming English translation of the piyyut Adonai Negdekha kol Ta’avati. . . . Categories: Tags: Contributor(s): חֲרוּזִים עַל שְּׂחוֹק שָׁ״הּ־מָ״תּ | Rhymed Poem on Chess (long), by Avraham ibn Ezra (ca. 12th c.)A poem on how to play chess, one of the oldest historical descriptions of the game of Chess, by Avraham ibn Ezra (12th century) . . . Categories: Tags: Contributor(s): “Avnei Y’qar” is a succint piyyut for Ḥanukkah, traditionally attributed to R. Abraham ibn Ezra, and particularly beloved by the Yemenites. Interestingly, it doesn’t mention the miracle of the oil whatsoever, focusing on the degradation of the land under Greek occupation as well as the Hasmonean victory itself. Included is a poetic acrostic translation into English. . . . The piyyut, Agadelkha, in Hebrew with an English translation. . . . Categories: Tags: 12th century C.E., 49th century A.M., acrostic, Acrostic signature, אגדלך Agadelkha, cosmological, קדיש ḳaddish, פיוטים piyyuṭim, רשות reshut, ספר יצירה Sefer Yetsirah, זמירות zemirot Contributor(s): A medieval Jewish poem on the game of Chess by Avraham ibn Ezra.. . . . Categories: Tags: Contributor(s): A popular piyyut for all occasions by Avraham ibn Ezra. . . . An interpretive translation of a piyyut composed as an introduction to the prayer Nishmat Kol Ḥai. . . . Categories: Tags: 12th century C.E., 49th century A.M., acrostic, Acrostic signature, libi uv'sari, נשמת כל חי Nishmat kol ḥai, פיוטים piyyuṭim, צמאה נפשי Tsamah Nafshi, זמירות zemirot Contributor(s): This translation of Tsam’ah Nafshi was made by Avi Shmidman and Tzvi Novick, and first published by the Az Yashir Moshe Project birkon (2009), p. 56-57. . . . A poetic introduction to the Azharot of Solomon ibn Gabirol read in the afternoon of Shavuot by Sefaradim. . . . Categories: Tags: 12th century C.E., 49th century A.M., acrostic, Acrostic signature, Azharot, Decalogue, Har Sinai, Nusaḥ Sefaradi, פיוטים piyyuṭim, התורה the Torah, theophany Contributor(s): This yotser, by the great eleventh-century payṭan R. Binyamin bar Zeraḥ, goes through the entire alphabet with which the Torah was written, giving midrashic and mystical interpretations of each letter. As a yotser, it is recited immediately after the petiḥah of the Yotser Or blessing. . . . Categories: Tags: 11th century C.E., 49th century A.M., Acrostic signature, phonetic alphabetic acrostic translation, Alphabetic Acrostic, Nusaḥ Ashkenaz, פיוטים piyyuṭim, יוצר אור yotser ohr, יוצרות yotsrot Contributor(s): This anonymous ofan, also recited on the second day of Shavuot in some communities, uses alliteration to describe the many hosts of angels descending upon Sinai in awe and reverence as the Torah was given. The translation preserves the alliteration over the alphabet, seeing as the ofan in this form doesn’t include the entire alphabet either. As an ofan, it is recited within the Ḳedusha d-Yotser, between the verses of Isaiah and Ezekiel (included here). The ofan is recited on the second day of Shavuot in some communities. . . . Categories: Tags: 11th century C.E., 49th century A.M., Alphabetic Acrostic, Nusaḥ Ashkenaz, ofanim, פיוטים piyyuṭim, יוצר אור yotser ohr Contributor(s): This meorah, by R. Avraham bar Shmuel of Speyer (the elder brother of R. Yehuda heḤasid and a great scholar in his own right) is recited on Shabbat Naso. This is usually after Shavuot, but sometimes (in 2025, for instance) it is before. This meorah is a poetic interpretation of the Priestly Blessing, and a plea for vengeance against the antisemitic nations. As a meorah, it is recited prior to the final line of the guf and the ḥatima of the Yotser Or blessing. . . . This ahavah piyyut, likely by the paytan Yitsḥaq ben Reuven Albargeloni (the acrostic signature is ambiguous), is a longing love song between Israel, the “amazing one,” and God, the “Mighty One.” As an ahavah, it is recited prior to the final line of the guf and the ḥatima of the Ahavah Rabba blessing. . . . | ||
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